» Documentary Dialogue with Marta Andreu

» Chicken & Egg Pictures Presentation and Roundtable

Documentary Dialogue with Marta Andreu

Marta Andreu

Marta Andreu (Spain) is the academic coordinator of DocMontevideo. She is the academic coordinator of the master’s in creation documentary course at the Universitat Pompeu Fabra. She teaches port-graduate documentary film courses at the Universidad Rovira y Virgili in Tarragona. In 2004-2005 she coordinated a Spanish documentary cinema retrospective for Cinéma du Réel. She analyses documentary scripts for the Centre de Desenvolupament Audiovisual. In 2004 she founded Estudi Playtime in order to devote her time to producing creation documentaries. She has a degree in audiovisual communication and a master’s in creation documentary from the Universitat Pompeu Fabra.

The return in the documentary gaze The documentary view has been defined in many ways over the years. We return to it to see precisely how it can be directed towards the same reality more than once. The subject of the documentary is a place to return. Sometimes to film what we saw before, others to film again what we had already recorded. Sometimes this “look again” will be printed in the film, others will be a secret gesture, which will remain in its substratum. The repetition, moreover, takes diverse forms within our cinema: it has to do with the citations to previous looks, own and others; Also has to do with internal echoes, basis for the construction of sense or assembly; It also refers to the accumulation in the era of accumulation, films-collage, films-mantra, films made of fragments and flashes … And in all (these and others), the repetition, back, will always be found In the very essence of our look: Be that as it may, to look is somehow to look again, to look twice. Look to see, look to see. And this does not end here: as a result the film will always put us in front of “the real and its double”, using a Rosset expression. Yes, we could understand the documentary image as what it “repeats”, which duplicates reality. But maybe that’s not really accurate. Maybe another twist would still be missing, one more …

Chicken & Egg Pictures Presentation and Roundtable

Chicken & Egg Pictures

Chicken & Egg Pictures supports women nonfiction filmmakers whose artful and innovative storytelling catalyzes social change. We envision a world in which women filmmakers, representing a range of experiences and backgrounds, are fully supported to realize their artistic goals, build sustainable careers, and achieve parity in all areas of the film industry.

Lucila Moctezuma

Lucila Moctezuma (México-EEUU) is Program Director at Chicken & Egg Pictures in support of women nonfiction filmmakers. She was Executive Producing Director at UnionDocs, Board Vice-President for The Flaherty, Program Manager at Women Make Movies, Director of Media Arts Fellowships for The Rockefeller Foundation and founder of Tribeca Film Institute‘s TFI Latin America Fund. She is in the selection committee of the Morelia Int’l Film Festival.

Sofía Straface

Sofía Straface (Argentina). She graduated from ENERC-INCAA and has been working as a sound designer since 2010. She specialized in editing dialogues and foley. She is part of the Argentine Association of Audiovisual Sound (ASA). Among her works as Director of sound are the short film LA REINA by Manuel Abramovich, for which she received a special mention to sound at UNASUR CINE and the sound award at VII International Cinema Window of Recife.

Sofía Betarte Zabala

Sofia Betarte (Uruguay) was born in Sweden in 1982 and lives in Uruguay since 1987. She studied Audiovisual Communication and in 2012 she specialized in Documentary Construction in EICTV San Antonio de los Baños, Cuba. She’s a freelance worker and has now finished her opera prima “By the yoke”, awarded by ICAU, 2014, and MVD Socio Audiovisual, 2016.

Sunday

23

» Editing Master Class

» Editing Master Class

Editing Master Class

A whole day of work alongside the experienced Argentinean editor Andrea Lucía Kleinman

Andrea Lucía Kleinman

Andrea Lucía Kleinman (Argentina). Nominee by the National Academy Award to Best Editing for NEY. Best Editing Award together with Marcone for Raidos (BAFiCI). Jonas e o Circo sem Lona (IDFA), Papirosen, Ramón Ayala and Süden were nationally and internationally multi-awarded. Board member of SAE (Argentinian Editors Society) and founding member of EDA (Argentinian Editors Asociation). Teacher at UNA, ENERC, UBA and EICTV (International Film and TV School at Cuba).

» Case Studies

» Case studies

» Science and Documentary Art by Colciencias

» Presentation: The New York Times Op-Docs

Case Studies

MY BODY IS POLITICAL

FROM 9:30 TO 10:25 Hs

My Body is Political talks about the everyday life of four transgender people who live in poor neighborhoods in São Paulo. The narrative is developed with a mix of their intimate lives and broader social context, raising questions about the brazilian transgender community and their political disputes.

Heverton Lima

Heverton Lima (Brazil) is executive producer at Paideia Filmes. His recent work includes the documentary My Body is Political (52 ‘/ 71’, 2017), selected at the Bafici and Visions du Réel festivals and the award-winning short film Marina’s Oceans (17 ‘, 2014). He is currently completing the Varied documentaries (80 ‘, 2018) and Modern Life Diaries (80’, 2018); Releasing the fiction Guigo Offline (52 ‘/ 71’, 2017) for TV Cultura.

Moderates:

Álvaro Buela

Álvaro Buela (Uruguay) is a filmmaker and teacher. He made the feature films “Una forma de bailar” (1997) and “Alma Mater” (2005), the creation documentaries “La deriva” (2008) and “The Beti Project and the Tree Man” (2014) Short film “Limbo” (2013). He was a journalist and editor of El País Cultural. He is a professor and professor at Universidad ORT Uruguay. He has been a jury of festivals and funds in Brazil, Argentina and Uruguay.

THE OTHER SIDE OF THE WALL

FROM 10:35 TO 11:20 Hs

Ale (18) and Rocio’s (13) relationship is faced with the greatest challenge possible when their mother is imprisoned under dubious charges. They have to act as father and mother to their two younger siblings.Initially they promise to help each other and keep their family together until their mother is released. But as undocumented Honduran immigrants their right to live, work and study in Mexico was already under threat.

Pau Ortiz

Pau Ortiz (Spain) is documentary director and editor. After specializing in documentary direction at the Catalan Film School (ESCAC) he received a scholarship at the Quebec Film School. His style is characterized by his fascination with human relationships. As a director, he always tries to capture the human angle of things. His passion is to tell stories that empower his characters and promote social change.

Moderates:

José Pedro Charlo

José Pedro Charlo Filipovich (Uruguay). Director and producer. He has directed documentaries, short films and television series that have been shown in Festivals, Exhibitions and TV broadcasters in America and Europe. In 2015 his documentary project Los de Siempre was the Uruguayan winner of the fifth edition of docTV Latin America. His new documentary feature, Trazos familiares, will be released in the second half of 2017.

SupportS:

MEMORY EXCERCISES

FROM 12:00 TO 13:00 Hs

Between 1954 and 1989, Paraguay suffered one of the longest dictatorships in latin America. Agustín Goiburú, the most important political opponent to the Stroessner regime, disappeared in 1976 in Paraná, Argentina, where he was exiled. 35 years later, his three children, come back to the place of exile… A come back to their memory. This is how we begin an intimate memory exercise, telling the story of a whole country.

Paz Encina

Paz Encina (Paraguay). Born in Asuncion, the filmmaker and writer Paz Encina studied at the Universidad del Cine in Buenos Aires. She directed several short films and with his long debut, “Hamaca paraguaya” (2006), received the FIPRESCI Prize at the Cannes Film Festival.

Moderates:

Micaela Solé

Micaela Solé (Uruguay) is filmmaker since 1997. She studied in Uruguay, Cuba and Spain. Since 1999 she works as a producer on both Uruguayan and international projects. In 2007 she co-founded CORDON FILMS to produce both documentary and fiction films, usually in co-production.

Case studies

WHEN THE GUNS GO SILENT

After half a century of war and 8 million victims, the FARC, the oldest guerrilla in the world, agree to start a peace dialogue with its historic enemy: the Colombian State. Together they fight the toughest battle, the final one: the battle for peace.

Natalia Orozco

Natalia Orozco, Colombia, documentalist and journalist, Director and Screenwriter of documentaries and journalistic investigative reports on international and human rights issues among them: Guantanamo, until when? (2011) and Gypsies, citizens without homeland (2013), as well as the documentary “Benghazi, beyond the armed front”. Two-year winner of the Simón Bolivar National Journalism Award (2010 and 2012)

Moderates:

Andrés D’Avenia

Andrés D’Avenia (Uruguay). Producer and journalist at LatAm cinema and TVciudad. He worked at TNU and DocMontevideo. Producer of “Ese soplo” by Valentina Baracco and “Tierra y raíces” by Jenifer de la Rosa, both documentaries in development. He has been involved in the production of La Fogata (2011) by Magdalena Schinca (Official Selection, 30th International Film Festival of Uruguay) and “Cuerdas y vientos”, “Historias invisibles” and “Los Aristonautas” (TNU).

Science and Documentary Art by Colciencias

Colciencias

Administrative Department of Science, Technology and Innovation (CTI) that depends on the Presidency of the Republic of Colombia and leads the National System of Science, Technology and Innovation.

Juan Fernando López

Social communicator with emphasis in audiovisual production and realization; Current Coordinator of the Colciencias Dissemination Program. He has more than 12 years of experience in the media, creating cultural and educational contents. Director, coordinator and designer of the projects “Scientific for a day” (2016), “Formulas of Change” (2016) and the documentary series “Colombia Bio” (2017) within the strategy “Everything is science” by Colciencias.

Presentation: The New York Times Op-Docs

The New York Times Op-Docs

Op-Docs is The New York Times editorial department’s award-winning forum for short, opinionated documentaries, produced with wide creative latitude and a range of artistic styles, covering current affairs, contemporary life and historical subjects. Honors for Op-Docs include two Oscar nominations, two Emmy Awards, two Peabody Awards, two Online News Awards, and World Press Photo Multimedia and Picture of the Year awards for multiple films. Recent successes include the viral hit “10 Meter Tower,” Sundance-winner “Alone,” and the premiere of three Op-Docs at the TriBeCa Film Festival.

Andrew Blackwell

Andrew Blackwell is the Supervising Editor of Op-Docs, the New York Times’ acclaimed series of short documentaries by independent filmmakers. An Emmy-winning documentary editor and producer, he is also a nonfiction journalist and author of the book “Visit Sunny Chernobyl.”

WHEN THE GUNS GO SILENT

After half a century of war and 8 million victims, the FARC, the oldest guerrilla in the world, agree to start a peace dialogue with its historic enemy: the Colombian State. Together they fight the toughest battle, the final one: the battle for peace.

Natalia Orozco

Natalia Orozco, Colombia, documentalist and journalist, Director and Screenwriter of documentaries and journalistic investigative reports on international and human rights issues among them: Guantanamo, until when? (2011) and Gypsies, citizens without homeland (2013), as well as the documentary “Benghazi, beyond the armed front”. Two-year winner of the Simón Bolivar National Journalism Award (2010 and 2012)

Tuesday

25

» Sessions with International Festivals

» Impact Ecosystem

» Series Pitching

Sessions with International Festivals

IDFA

09:30 – 10:40HS

IDFA

IDFA is the world’s pre-eminent documentary film festival, combining a relaxed atmosphere with excellent business opportunities. The festival draws a large audience with its diverse film program, including many premieres, and showcases the latest digital developments in IDFA DocLab. The festival’s industry components (co-financing market IDFA Forum, documentary market Docs for Sale, training program IDFAcademy and the IDFA Bertha Fund) draw over 3,000 professional guests each year.

Raul Niño Zambrano

Raul Niño Zambrano (Netherlands) works since 2008 at the Program Department of IDFA, the International Documentary Film Festival Amsterdam. His expertise relates in particular to Latin American documentaries and shorts for what he has been invited to many festivals and events as a jury or tutor. He is also the curator of IDFA’s Student Documentary Competition. Other fields of interest include data visualization and multimodal metaphor.

Case study with:

Mariana Viñoles

Mariana Viñoles (Uruguay). In 2001 she travels to Belgium where she studies Cinematography at the I.A.D of Louvain. Back to Uruguay in 2005 she works as filmmaker and cinematographer making independent documentary. Her last documentary “Carolina’s world” was world premiered at IDFA on 2015. “CHILDREN OF THE WAR”, on production (Bertha Fund 2014), about the Syrian refugees families set up in Uruguay in 2014, will be ready in march 2018.

DokLeipzig

10:50 – 11:40HS

DOK Leipzig

Founded in 1955 DOK Leipzig is the oldest documentary festival in the world, but from its first edition on animated films were part of the programme. This makes Leipzig unique in the international festival landscape as well as its strict attention to artistic quality. The programme includes international competitions for long and short documentary and animated films as well as for animated documentary, for German documentaries and the Next Masters Competition. Additionally there are numerous special programmes. DOK Leipzig is an international centre of competence that is active throughout the year and all over the world.

Kim Busch

Kim Busch (Germany) has been working for DOK Leipzig since 2011 in different positions. Since 2014 she is working as a programme coordinator for the festival and cooperations around the world. She has a master’s degree in Media and Communication Sience and worked for several production companies specialized on documentary and fiction films throughout Germany and the regional film and media funding institution MDM in Leipzig.

Supports:

Sheffield Doc/Fest

11:50 – 13:00HS

Sheffield Doc/Fest

Sheffield Doc/Fest is a world leading and the UK’s premier documentary festival, celebrating the art and business of documentary and all non-fiction storytelling. Operating in the heart of UK, we’re a hub for all documentary and non-fiction content across all platforms, from feature length to shorts, and including interactive, augmented reality, and virtual reality projects. The Festival comprises: – Film programme – Alternate Realities for innovation in interactive , augmented reality and virtual reality projects; – Talks & Sessions – Marketplace – Social events and networking; – All Year screenings.

Luke William Moody

Luke William Moody (UK) was appointed Director of Film Programming at Sheffield Doc/Fest in 2016. He joined from BRITDOC Foundation where he commissioned international award-winning documentaries across the Channel 4, Bertha and Pulse film funds for six years. He also managed UK impact distribution campaigns for Laura Poitras’ CITIZENFOUR. Recently he co-founded and curated digital platform Something Real and festival FRAMES of REPRESENTATION at ICA, London.

Supports:

Impact Ecosystem

The activity is open and free. Apply through this form. What is the Ecosystem of an Impact Production? How does a documentary film relates to activists, benefactors, NGOs, brands, foundations, media, legislators, institutions, to build a campaign and promote change?

Paula Vaccaro

Paula Vaccaro (Argentina-UK) has a career spanning more than two decades in media (radio, newspapers, digital platforms, TV and film), in 2009 she founded the production Pinball London, London, UK, where she worked with renowned directors like Sally Potter, Emir Kusturica, Guillermo Arriaga, Jim Jarmusch, Mira Nair, Lucia Puenzo and Aaron Brookner among others. She teaches at Kingston University and provides impact production workshops, such as the ones in the Argentina editios of GoodPitch.

Supports:

Series Pitching

Tuesday 25,15:00 to 18:30

Sala Delmira Agustini / Teatro Solís

Entrada libre

The Series Pitching is geared to generating possibilities for financing series projects in Latin America that have partial funding in their own country and are seeking to complete their budgets through international acquisitions or co-productions. + info

Wednesday

26

» Documentary Pitching

» Canal Curta! presents: International Co-production opportunities

» Strategies of promotion and international positioning for the audiovisual Roundtable

» MiradasDoc Presentation

Documentary Pitching

The makers and producers of twelve documentaries under development in various countries in Latin America will have seven minutes to present their projects to a panel made up of representatives from television companies and institutions in the cinema field. People registered for the Documentary Workshop may attend the Pitching as observers. +info

Canal Curta! presents: International Co-production opportunities

Canal Curta!

Curta! is a Brazilian cable TV channel entirely dedicated to the Arts, Philosophy and Society and boasts a subscriber’s base of 11 million people. We are commited to broadcast at least 12 hours daily of Brazilian independent productions. To enrich Curta!’s programming, the channel also features series and international documentaries broadcasted on prestigious channels around the world.

Strategies of promotion and international positioning for the audiovisual Roundtable

BRAVI – Brasil Audiovisual Independente

BRAVI – Brasil Audiovisual Independente – was created in 1999 to foster the growth of the independent audiovisual industry in Brazil. It represents more than 600 producers on various policy discussions such as taxation, trade, copyright, broadcasting, among others. In 2004, BRAVI developed with the Brazilian Trade and Investiment Promotion Agency (Apex-Brasil) the international program Brazilian Content, which has been promoting the audiovisual production abroad. In 2011, BRAVI created RioContentMarket, an international event on content production that has established itself as the largest audiovisual meeting place for players in Latin America.

Belisario Franca

For over 20 years,Belisario Franca investigates and reveals stories of the various faces of the Brazilian people.Featured for Beyond the Sea, best television series by the IDA, Strategy Xavante, best creation of art and media at United Nations Festival, Eternal Amazon, screened in 27 festivals around the world and Boy 23, launched in Brazil and the United States in 2016 and winner of best screenplay and editing by Ibero-american Festival Cine CE

ChileDoc

ChileDoc (www.chiledoc.cl) is an organization created in 2010 with the objective of improving the distribution and promotion of chilean documentaries in Chile and in the world.

Paola Castillo

Paola Castillo (Chile). Director and producer of documentary films. She is one of the most prominent producers in her country, with award-winning documentaries such as Allende, my grandfather Allende, winner of Best Documentary at the Cannes Film Festival 2015, El Salvavidas, El Gran Circo Pobre de Timoteo, and 74 m2 among others. Executive Director of Chiledoc, organization responsible for promoting the distribution of Chilean documentaries at local and international level.

MiradasDoc Presentation

MiradasDoc

The Canary Islands (Spain), considered by their location as the natural bridge between the continents of Europe, Africa and America, are a suitable platform for an audiovisual meeting. MiradasDoc is a festival and international market for documentary film professionals looking to the South: – Producers / filmmakers whose films have been or will be produced or filmed in Africa, Latin America and Asia. – Producers from around the world who address the relationship between the North and the South. MiradasDoc Market is the ideal space for projects looking for financing, and for finished productions that require distribution or exhibition.

David Baute Gutiérrez

David Baute (Spain) has directed the MiradasDoc Market since 2008. He has directed the documentaries: “Ella (s)”, “La Murga”, “Silenciada Memoria”, “Rosario Miranda” and “Los Sjos de la Nube”. He graduated in Audiovisual shows production at the Official Institute of Radio Televisión Española, Cinema editor by the Superior School of Arts and Shows of Madrid T.A.I., and in Cinematographic Direction by the International Film School of Havana.

Thursday

27

» Master Class with Maite Alberdi

» Master Class with Mariano Llinás

Master Class with Maite Alberdi

In this master class we will go throught the work of Maite Alberdi, from The Lifeguard to Grown Ups, where she will give us a deep vision of her authorial point of view and will share her experience with the international market.

Maite Alberdi

Chilean Director. In 2011 she premiered at IDFA her first and noted feature film The Lifeguard. In 2014 she premiered Tea Time and received 12 international prizes. In 2016 her shortfilm I´m not from here received 15 prizes and was nominated for European Film awards. In 2017 she premiered The Grown-Ups that has been shown in over 80 Film Festivals.

Master Class with Mariano Llinás

Mariano Llinás

Mariano Llinás (Argentina) is Argentine director, producer, screenwriter and actor. He graduated from the Universidad del Cine in Argentina, where he currently teaches. It was released in 2002 with his first film, Balnearios, an ironic and unconventional documentary, inscribed in the New Argentine Cinema stream. Then with Extraordinary Stories (2008) he received great recognition by critics and festivals. Llinás is part of the group of filmmakers El Pampero Cine, which carries out its activity outside the traditional financing structures of industrial cinema. In 2011 he won the Konex Award as one of the 5 best film directors of the decade in Argentina.

Friday

28

» Documentary Dialogue with Marta Andreu

» Documentary Dialogue with Marta Andreu

Documentary Dialogue with Marta Andreu

Marta Andreu

Marta Andreu (Spain) is the academic coordinator of DocMontevideo. She is the academic coordinator of the master’s in creation documentary course at the Universitat Pompeu Fabra. She teaches port-graduate documentary film courses at the Universidad Rovira y Virgili in Tarragona. In 2004-2005 she coordinated a Spanish documentary cinema retrospective for Cinéma du Réel. She analyses documentary scripts for the Centre de Desenvolupament Audiovisual. In 2004 she founded Estudi Playtime in order to devote her time to producing creation documentaries. She has a degree in audiovisual communication and a master’s in creation documentary from the Universitat Pompeu Fabra.

The place of the confrontations There is a certain tendency to give the documentary film the responsibility to solve the affairs of the world… But although the subject matter of our cinema is indeed that offered by the world, that is to say reality, the object of the cinema, what occupies him in truth, Has to do with how to look at that reality. This is how we should begin to transform our demand: as Berger said beautifully, it is not a matter of changing the world, but rather of looking at it… And with that, perhaps, the world is moving towards a better place. The camera then becomes a tool (a weapon too?) To react to what we have in front of us and what our films should do is record that reaction, expose it. In this exhibition will be discovered what we see, our relationship with it and inevitably who looks, in a game of looks, relationships, bodies, gestures, movements, intentions, desires, losses, re-encounters… The documentary form will end Turning, then, into a sort of place of confrontations, a place to be in front of something. And in this place the word “conflict” will be recognized as primordial: conflict as what triggers my need to speak, conflict also as a narrative element, conflict as content and form: in the other, in the different, in the distant, In the negative, in the unknown, in the unknown… And the conflict in the very act of looking: seeing us responsible for what we look at; Saying commits us to the place from which we speak; Creating is facing the world, but also and especially is the most relentless gesture of facing oneself.